#Chatter

[papaya-inspiration]

Oh! Me! I say this!

I'm 100% sure I'm not the first person to, but I remember something clicking in the middle of lecture during my upper division Classical Mechanics class in college. I literally walked out of class, called my dad, and excitedly told him, "Dad! It all makes sense now! Everything is a harmonic oscillator, or it diverges and goes to infinity!"

I was kind of lumping in 0 and 1 together there (0 is just a harmonic oscillator with negligible amplitude) so you can get down to just two numbers in that schema, but more generally in physics things are either so small you can approximate them away (0), some finite/bounded number (1), or they diverge and blow up your equation (∞).

Yay physics!

Ah yes, the three numbers: 0, 1, and a lot

[cybertronplannedparenthood]

ygs keep saying megatron & optimus are even switches but all i see is optimus topping megatron 75% of the time

[hyrude]

i didnt like wicked much for a lot of reasons but for some reason what im most fixated on is that the munchkin boy character was 5’7”. he’s like standing on books bc hes so short but the actor is 5’7” and visibly taller than all the women in heels. we cant even cast an actually short guy for the role of “short guy”???? i have sympathy for the true short kings of the world. your time is coming

[themetalhiro]

How can I even begin to capture my feelings about arcane, verbally OR visually…?

[barrenclan]

I binged the entire comic last night and I’ve been thinking about it nonstop. PATFW is the best warriors inspired fiiction I’ve ever read. Rainhaze especially freaked me out and while I love all the characters he really stuck with me. I have personal experience getting wrapped up in groups with bad intentions and being manipulated so it really hit home, except thankfully I never killed anyone in my family.

Overall, I adore PATFW and I’m excited to see what comes out for it in the future. Your storytelling and art is phenomenal and thank you for sharing it with us.

Thank you so much! Very kind of you. I'm sorry you had to go through something like that, but glad you could find connections through the comic.

[bonni]

Hi everyone! I need to collect survey data for a final project, and I was hoping you all could help me out by participating. The survey will take 5-10 minutes and is completely anonymous (a gmail sign-in is required to prevent repeat submissions but your email will not be collected/shared with me in any way). It would really help me out if you could participate since I need at least 50 submissions before I can get started on analyzing the data. My email is listed at the end of the survey in case people have questions, but you can also just dm me or send me an ask.

As a small incentive for my followers, after you complete the survey you can send me an emoji and I'll give you a song and a few pixels that remind me of you/your blog.

[synthetic-rust]

Sometime I do wish I was more like the type of person to have a more changeable deep interests in things. Me myself, I seem to find something I like and marinate in it until some random amount of time has elapsed and it goes dormant only for the next thing to come along lmao.

Special interests are so weird emotionally sometimes: I used to feel so so sad about the idea of not being fixated on avatar: the last airbender (back when that was my main one for a few years) and now I barely think about it unprompted. I do still feel fondly and attached to it in a sense, but it’s mostly dormant now. Nowadays I feel sad instead about the idea I won’t be so into ttte one day… even thorough that is something I can’t really predict how it’ll go. (This is like the second time in my life it’s been a massive fixation, so I really have no idea tbh, might go on and off forever for all I know lol)

Do people with a faster special interest ‘cycle’ as it relates feel this kind of thing more often? I’d be interested to hear other perspectives if you can relate to some of this. From my perspective it doesn’t sound so fun to go through the ups and downs so repeatedly. Yet it also sounds nice to have that shift in novelty more often. Be less of a broken record in a sense.

[obsessive-clown]

ME AND MY BABYGIRLS AGAINST THE WORLD

*Sigh*... It's me and my freaky freakersons against the world.

[cybertronplannedparenthood]

[hyrude]

me: you’re different than other kitties. that time you had fleas changed something inside you.

my bf: stop grooming our cat to be dexter

me: i found that dead moth, graham. have you ever wanted to kill something else? something… bigger than a bug?

[mean-scarlet-deceiver]

I agree with you on a lot of points here. The RWS narrative does Gordon dirty in some ways, and I don't think he's being rude or mean every time he's painted as such (although sometimes he really is and I don't want to minimize that).

And Gordon definitely comes to see himself as a protector or sort of alpha leader to the rest. I don't think he fulfills that role as quite well as he thinks he does, but he does frequently make the effort and his willingness to see himself as part of the group (even if it must be as the leader) is a definite and huge improvement from his initial role as a not-really-malicious but as a hilariously egotistical engine who had not one thought rattling in his smokebox except "meee! meeeeee! MEEEEEEE!" So, growth. I respect it.

"[W]hen big things happen, especially to "his people" and they are no longer in a position where he can look out for them, he feels irritated and upset" <- I think this is very rosy, probably gives him too much credit! He doesn't like being separated from "his people" because they are his friends and he feels bereft when they're gone. He seems to have a hard time expressing that, normally finds some excuse that (as you say) allows him to claim irritation instead of vulnerability. (He doesn't miss Thomas, he's overworked. He isn't overwhelmed and homesick and just doesn't wanna, it's that the trucks are uncouth and the job is impossible. He isn't hurt that Henry now has a different shape and they can't be mistaken for each other anymore, he's irritated that Henry is so noisy.) But even Gordon himself has never tried to excuse his vulnerability as concern for his friends' safety or well-being! His reaction to loss and change is totally human and understandable, but not noble. He just needs the support of familiar faces and his usual routine as much as anyone, indeed more than most. Gordon's a bit high-maintenance.

We can only guess on Annie and Clarabel's respect for him. I have a feeling it's simply because Gordon's at the top of the railway hierarchy and that's what they respect. They don't share Thomas's gadfly delight in thumbing his nose at that hierarchy, his shining confidence that he's worth infinitely more than "his place." I don't think Annie and Clarabel, as branch line coaches, necessarily know much of Gordon's character; they're just nice conventional old ladies.

I agree with you that I don't think "Hullo, fatface!" would have got lodged quite so deep in Gordon's smokebox if it hadn't come from Henry! It is kinda fascinating. Like, Gordon doesn't normally overreact to insults or teasing. He ignores it if he thinks it's beneath his notice (like the first howevermany times Thomas called him "lazybones" and ruined his nap, lol!) and if it merits a reaction he plans a very targeted punishment to get his own back (dragging Thomas on the Express, blocking Duck from the points to the shed the way he did to the big engines, etc.) But yes, Henry says that and he starts to immediately stew and spiral. I once wrote a post that included an analysis of how Gordon seems to regard most engines (including James) as "little" - he can patronize and condescend to them. One exception is Henry (the other is Edward). Which is all just to say... yeah, it's very interesting. Henry really pushes his buttons there - but Gordon lets him. He doesn't start thinking up a plan to punish Henry and put him in his place. Best he can do is retreat to self-aggrandizement, lol.

Oh, Gordon... I think he is a great representation of how the word "condescending" has changed in connotation over the course of the 20th century 😉 He clearly is of the old-school upper-crust view that condescension is a virtue!

Forever and Ever... Even in the 1920s-1960s

Started going down a long digression in the 2+4 essay. Gonna follow this breadcrumb trail over here instead...

One of my arguments is that Gordon actually behaves well and graciously way more often than he is usually given credit for (and starts doing this way earlier than often credited, too).

Along the way, I realized that his spots of bad behavior are not random. When he starts acting all Ass, it's almost always in the period of some sort of major change in his life:

The Three Railway Engines - *waves hand vaguely* all of it -> he's just transferred from the GNR to Sodor

Troublesome Engines - *waves hand again* y'know, all of it -> Thomas moved away :(

Henry the Green Engine - harrumphing about how Henry has let the side down in like three different ways directly after Henry's major reconstructive surgery -> the horrible wreck where Henry, his best friend, could have died, and instead was in hospital the rest of the damn winter

Gordon the Big Engine - "Mind you keep on the rails today!" and then, when he gets pushback, retreating to old friend "boasting" -> is he mother-henning Henry?? he's explicitly referencing the Kipper accident! I would not be too shocked to learn that Gordon gets twinges of unease that he never examines every so often whenever he sees Henry with a train

Percy the Small Engine - "Quack quack quack!" and trying to bully Duck (lol. lmao, even) -> Percy is gonna move away :(

Main Line Engines - getting on his high horse about "Branch Line Diesels" and then getting into a huge spat with Edward that results a brand-new beat-down of a dead horse named "Edward is Weak and Useless" -> We learn in "Wrong Road" that his fireman is new. Presumably his old fireman advanced to fill the role, leaving the vacancy... which means that Gordon recently lost his old driver to retirement.

You might be thinking "well yeah, stressors are stressful, most people's outbreaks of bad behavior have to do with some sort of Big Life Thing" - I certainly thought so, for a mo'. But this isn't true of the other major characters? James's worst behavior in the Wilbert books comes when he is slightly delayed sometimes during his work day and when Toby just, erm… exists. Thomas's worst behavior is because he… doesn't like his snowplough, and has a careless cleaner.

No, only Gordon's poor behavior can so consistently be linked to big changes. Indeed, not many RWS characters have been seen with quite as much of an interior life as we learn Gordon has in "Tenders for Henry." By that point, Gordon has matured enough that he doesn't express his feelings in this emotionally-stupid make-it-everyone's-problem sort of way. But we can see clearly that the end of steam seems to affect him more deeply than anyone else at Tidmouth.

So yeah, I think there's something real and insightful in the above pattern. Once again, my friends - Galloping Sausage with Feelings.

[tieflingkisser]

it is so disgusting watching other white people reassure each other about taking breaks from social media and "prioritizing your mental health" when literally the one thing Palestinians are asking for more than anything is that people do not look away from what is happening to them

EDIT since some people seem to have misunderstood: i'm talking about the white people who have given themselves and each other permission to check out and go on about their lives in blissful ignorance, not the people who actually are taking mental health breaks. hence the scare quotes. specifically i was reacting to a trend on tiktok at the time but it happens everywhere on social media

[themetalhiro]

Just stumbled across the Pokémon teams I made with my partner for all 10 of the strawhat pirates. Took like 3 hours and several bottles of wine. maybe I’ll draw them when I have the time?

[papaya-inspiration]

This is really interesting! I hope you don't mind if I do a bit of analyzing of your loglines, because this is also something I struggle with and I'm interested in seeing what I can learn by breaking down the ones you've posted.

Some quick context first: I haven't read any of your longform fiction. I know from my sister (she's a fan) that they would probably be right up my alley (and I fully intend to read WtC, it's just long and I haven't quite gotten to it yet.) So I can't how accurately these capture the actual stories, but I can analyze them from the perspective of someone in the target audience who might pick up one of these books on the strength of the logline.

The thing that stands out to me most is that nearly all your loglines break up nicely into two parts: the first clause sets up the context of the story and the second clause provides the main thrust of the plot. In your stronger loglines, it is immediately apparent how those two things play off each other. In the weaker ones, the two parts feel disjointed or don't have an immediately obvious connection, and thus are missing the "twist" or "hook" that draws potential readers in.

Let me explain through some examples. I think your strongest logline here is the one for Shadows of the Limelight. The set up is both clear and snappy ("In a world where fame gives you power") and the plot hook immediately sets up several dramatic questions (what is protagonist going to do with all this sudden and unexpected power? what expectations come with it? how does the hero he saved feel about this? how does the protagonist's status as a "fanboy" affect with that?) The relationship between the set up and the plot is immediately obvious and it comes with the "twist" built in.

On the other side of things, I think several of your other loglines suffer from the same issue, particularly The Dark Wizard of Donkerk and Millenial Scarlet. Both have a set up and a plot hook, but the relationship between the two isn't clear. For Dark Wizard, how does "being raised by dark wizards" affect going on an adventure? Does it hinder the protagonist, or prepare them to approach their quest in a particularly unique way? Does it make them a particularly unlikely duo with the wayward princess? Are adventures a normal thing for this world? I think a stronger logline would tie the protagonist's unique background to how their quest will go down, which also has the added benefit of preparing the reader for what the tone of the story will be.

Similarly for Millenal Scarlet, the logline would be stronger if we got some sense of how the dead mother's plans came into conflict with the protagonist's job. I love the set up--"gig-economy demon hunter" is an inherently interesting premise (at least to me) and it sure seems like the kind of job that could bring you into conflict with a loved one's last wishes. But the logline doesn't actually tell us enough about the nebulous "plans" to show that there is a conflict, or what it is going to be.

So yeah! I hope something in there is helpful to you, or at least minimally annoying to receive. It was fun to look over your examples and think about why some of them jumped out as more appealing to me than others (and hot damn I really do need to read WtC one of these days.)

Also, in the spirit of practicing and improving I'll tack on attempts at loglines for two of my own stories (though they are currently not available to read publicly anywhere, alas):

Zivanka at Baytown - In a harbor town ravaged by unpredictable storms and unfriendly to outsiders, an orphan girl discovers the lengths she will go to secure a place for herself.

Death and the Doctor - Accompanied by the personification of Death itself, a plague doctor must free a village from a strange malady with otherwordly origins.

Save the Cat is a snappy read, and only 8 chapters, so I'm just doing a liveblog of them unless I get bored or distracted.

Chapter one is about the pitch, the logline, the title, what you put on a poster and how you sell it. It doesn't necessarily come first, but I get the sense that for Snyder this would be his preferred way of doing it. (A logline is just the one-sentence "what is it about" that you use to sell people on the idea.)

Snyder says that writing loglines is awful, soul-crushing work, and I agree there. I'm awful at it. But Snyder also says that if you don't have a good logline, maybe there's something wrong with your movie, and that I don't agree with.

I think there's a fairly wide set of stories that have good, snappy, easy loglines, and are also good stories. But I think there are other stories that are good stories and don't have a great way to pitch them. The lack of a good pitch can exist for a lot of reasons, and sometimes it's just that it's more complex than can be summed up in a single sentence, or even a handful of sentences. I think in practice writers will often dumb down the story for the logline, lying about what's contained within, just to make sure that it will sell, that people will want to know what's inside.

One of the other main points of the chapter is that a good logline has irony to it, a twist inherent in the title, some kind of thematic tension, and I disagree with that too, maybe not from the standpoint of selling a script, but from the standpoint of storytelling.

Why does everything have to have an irony to it? Why does everything have to have a twist? Why can't we have stories that are just well-told explorations of conflict and character? It's like at some point people decided that they only wanted Distinct Pieces of Media, so if you wanted to tell a story that's been told before, something with its own unique texture, you're just shit out of luck.

I find this all the more irritating because often the twist/irony/idea/pitch is good, and then the execution is shit, and then people don't want that idea again. It's not like you can say "like that thing that flopped, but good".

Blake Snyder is trying to tell good stories, but he's also trying to sell stories, and this is a good thing for authors to know how to do. I accept this. I just don't like it.

So as a writing exercise, here are some loglines for things I've written, without the amount of care and polish and revision that a good logline needs:

Worth the Candle - A teenaged dungeonmaster gets thrust into the worlds he's created, where his recently deceased friend is a historical figure. (This is bad, not short and snappy enough.)

This Used to be About Dungeons - Five young adults team up to delve dungeons and bake pies. (I don't know man, I said I was bad at this.)

Thresholder - A man travels through portals to different worlds and genres, gathering powers and skills as he fights other people just like him.

Shadows of the Limelight - In a world where fame gives you power, a fanboy saves the life of the world's greatest hero in full view of the public.

The Dark Wizard of Donkerk - An orphan raised by two dark wizards adventures north with a wayward princess.

Millennial Scarlet - A gig-economy demon hunter grapples with the death of his mother and the plans she set up before she passed.

Alright, I found that less soul-sucking than usual, but I don't think that these are the oiled, muscular, perfectly toned and smiling loglines that are necessary to sell, just to be clear. The marketing unit of written fiction is not really the logline, though that helps, it's the blurb, and I am equally awful at writing those. I just don't agree with Blake Snyder that a blurb or logline coming poorly is a sign that you don't know the story.

[enfranchisement]

hello?